The Point Loma Universal Brotherhood and Theosophical Society Homestead, a utopian experiment established near San Diego, California, in 1897, created a distinctly feminine version of the "perfect community" by drawing on aspects of Theosophy that emphasized values that during the 19th century were closely identified with women--selflessness, connectedness, morality, and purity of body and mind, while deemphasizing those generally associated with male character--intellectualism, rationality, individualism, and aggression. Bolstered by the almost limitless authority of the community's founder, Katherine Tingley, the women of Point Loma Colony embraced an ideology of woman's morally superior nature, and used that ideology to expand woman's "natural" sphere of influence. Point Loma's emphasis on selfless service to others required a material base that freed women from the demands of narrow, isolated family units by providing communal childcare and kitchens, economic security, and access to education regardless of gender. This limited feminine commonwealth created a space for improvisation in which brotherhood was equated with sisterhood, fictive family bonds replaced blood ties, and childless mothers took the place of real ones.

Approved for public release; distribution in unlimited. / Moored current meters were used to describe currents over the continental slope off Monterey Bay, California, from March 1998 to March 2003. The water depth at this location was 1800 m and current observations included of 16-88 m, 210- 290 m, 305 m and 1200 m although measurements at 16-88 m were not continuous. Poleward currents dominated the flow between 24 and 305 m. At 305 m the mean flow was 3.9 cm/s toward 334ʻ. Surprisingly, at 1200 m the mean flow reversed and was 0.8 cm/s toward 169ʻ. The principal axis for the flow at 305 m (1200 m) was 349ʻ (350ʻ), the semi-major axis was 9.4 cm/s (5.8 cm/s) and the semi-minor axis 3.4 (2.0 cm/s). The direction of the principal axis and the mean flow at 1200 m was aligned with the bathymetry to the east of the mooring site. The seasonal cycle at 305 m was dominated by an acceleration of the poleward flow from a minimum near zero on April 15 to maximum, 25 cm/s on July 15. This flow resulted in an increase of temperature at 305 m of 1.2ʻC due to geostrophic adjustment and a corresponding 10 cm increase in sea level due to steric effects. The acceleration of alongshore flow was out of phase with the alongshore pressure gradient which was greatest in mid- April. At 1200 m, the temperature increase (0.2ʻC) only lasted from April 15 to June 1 after which equatorward flow increased and temperature decreased. Mesoscale variability dominated the velocity measurements with maximum variance at about 60- day periods. At 305 m, the eddy kinetic energy was greatest (smallest) in October (December), 40 cm2/s2 (4 cm2/s2) while at 1200 m the maximum (minimum) occurred in July (February), 5 cm2/s2 (0.5 cm2/s2). Poleward events were stronger at 305 m while equatorward events were stronger at 1200 m. The three first empirical orthogonal functions explained 90% of the temporal variability of the horizontal currents. The first, second, and third Z-scores represented flow along the principal axis, undercurrent vs. Davidson current, and upwelling modes, respectively. While the seasonal patterns for the first two modes agreed with seasonal variability described above, the seasonal variability of the upwelling mode (6% of the variance) indicated that the waters between 16 and 88 m flowed onshore during the spring and summer upwelling period. / Commander, Mexican Navy

This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways. My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary. / Doctor of Philosophy (PhD)

Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract and vita. Includes bibliographical references (leaves 185-193).

Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 116-119).

Availability of suitable nesting habitat that is free of nest predators and provides access to adequate prey resources within commuting distance is a major factor limiting seabird populations. Caspian terns (Hydroprogne caspia) in western North America have shifted their breeding habitat from naturally occurring habitats in interior wetlands, lakes, and rivers to primarily human-created habitats in coastal bays and estuaries. This shift has brought Caspian terns into conflict with fisheries of conservation concern, in particular anadromous salmonids. Prior to the 2010 breeding season, three artificial islands were built in the Klamath Basin National Wildlife Refuge (NWR) Complex as alternative nesting habitat for Caspian terns currently nesting at the world's largest colony for the species, near the mouth of the Columbia River, Oregon. I investigated the efficacy of habitat creation (island building) and social attraction (decoys and recorded vocalizations) for establishing new breeding colonies in the Upper Klamath Basin, California. In 2010, approximately 258 pairs of Caspian terns attempted to nest on the new islands and raised an average of 0.65 fledglings/breeding pair; in 2011, 222 pairs attempted to nest and raised an average of 0.11 fledglings/breeding pair. Competition with California and ring-billed gulls (Larus californicus and L. delawarensis) for nesting space, gull predation on Caspian tern eggs and chicks, low water levels, and depredation by great horned owls (Bubo virginianus) were the primary factors limiting colony development and productivity, especially in 2011. The immediate response by Caspian terns to habitat creation and social attraction in the Upper Klamath Basin demonstrates that these can be effective restoration techniques to establish new breeding colonies where nesting habitat is a major limiting factor; however, continued management of other limiting factors (e.g., control of on-colony predators and competitors) will likely be necessary to promote the development of established, self-sustaining breeding colonies on these artificial islands. Efforts to conserve and restore seabird colonies can be compromised by low prey availability within foraging distance of the breeding colony. I used GPS telemetry to study the fine-scale foraging behavior of Caspian terns nesting at two newly established colonies and cluster analysis to discriminate behavioral states based on movement characteristics. Terns breeding at the Sheepy Lake colony spent less time at the colony (52% of the day) than terns breeding at the Tule Lake colony (74%). Caspian terns breeding at Sheepy Lake foraged more extensively than terns breeding at Tule Lake; the foraging trips of Sheepy Lake terns lasted longer (median = 186 min) and were longer-distance (27 km) compared to those of Tule Lake terns (55 min and 6 km, respectively). Between-colony differences in foraging behavior corresponded to 5% lower average body mass of breeding adults and significantly lower size-adjusted body mass of chicks at the Sheepy Lake colony compared to the Tule Lake colony. Proximity to high-quality foraging areas influenced the foraging behavior and parental care of breeding Caspian terns, which in turn had effects on nesting success. The successful use of GPS telemetry to study the fine-scale foraging behavior of Caspian terns represents a significant advance in our ability to investigate the foraging ecology of this species and other moderate-sized seabirds. / Graduation date: 2013

Thesis (Ph. D.)--Dept. of Geosciences and School of Computing and Engineering. University of Missouri--Kansas City, 2005. / "A dissertation in geosciences and computer networking." Advisor: Tina M. Niemi. Typescript. Vita. Description based on contents viewed Mar. 12, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 331-341). Online version of the print edition.

The juvenile justice system has been criticized for its inability to curb the trend of juvenile crime and its continued ignorance to the valuable resources of community-based rehabilitation and treatment programs. The goal of this research paper is to discover new solutions to the structural shortcomings of the juvenile justice system and present my findings on the reasons for its contradictive structure and practices.

When creating a current work, artists cannot ignore the images that have preceded theirs. The history of a medium and the related history of subject matter is vital to the meaning of a new art work. Each sign and symbol has a connotation out of the artists’ control. The developed meaning of a symbol is inseparable for the viewer regardless of the acknowledgment of that meaning by the artist. To work with imagery and not address it’s historical context is to perpetuate it’s meaning. The only way to not state what has already been stated is to critically engage with the preexisting meaning of the imagery. An artist can combine symbols to create dual meanings or juxtapositions of meaning, or present the imagery in a way that complicates what it already signifies. “Apparent Fate,”my combined negative, photographic mural, uses imagery from Yosemite National Park to comment on photography’s function or purpose in history and in the current economic, political, environmental, and social conditions in California and society’s current stance on Manifest Destiny. How have the ideas of innate rights over people and places changed over time in American culture?

Nous essayons dans ce mémoire de déterminer comment s'articule le système de censure cinématographique aux États-Unis. À partir d'un sujet précis analysé sur une période de temps donnée, nous tentons d'établir une formation discursive crédible capable de nous renseigner sur les modalités de la censure cinématographique dans un pays aux valeurs démocratiques comme les États-Unis. Est-ce que la censure se présente comme un grand système de répression ou n'est-elle pas davantage un pouvoir de normalisation des discours? Nous retenons comme sujet d'études le cas de la représentation au grand écran de la guerre en Irak et de la guerre au terrorisme à partir d'une série de films sortis pendant les deux mandats du Président W. Bush. Étant donné le caractère hautement politique et actuel de ce sujet, il nous semble pertinent de voir comment le cinéma traduit les questionnements et discours qui l'entourent. Contrairement aux précédents conflits comme la guerre du Vietnam, il est d'emblée possible d'affirmer que les cinéastes américains osent davantage mettre certaines réalités de cette guerre en images alors que le conflit n'est pas encore terminé. Le nombre exponentiel de films touchant de près ou de loin à cette question confirme notre intérêt pour celle-ci, le cinéma demeurant depuis sa création le miroir des valeurs culturelles américaines. Si nous avons retenu au final sept films pour fin d'analyse, il reste que ceux-ci représentent à notre avis le mieux les idées développées pour ce mémoire. Le travail est divisé en trois chapitres. Dans le premier nous tentons de déterminer comment fonctionne historiquement le système de censure cinématographique aux États-Unis, pour ensuite nous attarder sur le cinéma de sécurité nationale qui demeure un créneau populaire depuis la Guerre Froide jusqu'à la chasse aux terroristes. Dans le second nous analysons deux films qui portent sur une thématique très en vogue ces dernières années, à savoir les réalités qui habitent le soldat lorsqu'il rentre au pays après un séjour en Irak ou en Afghanistan. Le dernier chapitre s'attarde au film Redacted de Brian De Palma qui soulève les nombreux cas de censure par le marché cinématographique. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : censure, cinéma, discours, normalisation, Irak, terrorisme, Hollywood, sécurité, torture.